Robin McKelle has something to say on her new album Melodic Canvas. The singer-songwriter explores a range of social issues on her forthcoming LP, which is set to be released on July 6. Tackling tough subject matter including politics, faith and more, McKelle’s Melodic Canvas offers listeners a timely social commentary with a rich, soulful sound. Blending elements of blues, jazz, gospel and soul, the album is an inspired work of pure, aural bliss.
McKelle took a more acoustic approach to Melodic Canvas, which also marks a return of sorts for the artist, to the jazz form. On it, she works with a number of accomplished musicians including Chris Potter, who’s featured on the tender track “Come To Me” and a fervent cover of Allen Toussaint’s “Yes We Can Can.”
We recently caught up with McKelle, prior to the release of her new album and subsequent tour (which includes a stop at the Rochester Jazz Festival), where she kindly talked everything from songwriting to collaboration to preserving the earth for our future generations. Check out the animated lyric video for Melodic Canvas’ lead single “Do You Believe” and scroll down for the complete Q&A interview with the wonderfully talented Robin McKelle.
Laurie Fanelli: You combine so many different genres and story-telling techniques on Melodic Canvas. What would you say is the album’s overriding theme?
Robin McKelle: Social awareness is the main theme of the album. I felt a responsibility and a need to address some of the issues we are facing in our daily lives. Racism, violence, religion, anti-immigration and problems stemming from social media are all subjects that I felt compelled to write about.
LF: The title (Melodic Canvas) instantly reminded me of the importance of music as an art form rather than the way it is often viewed, as disposable YouTube clips or free content, today. Do you think that music is sometimes short-changed in the way it is absorbed in our modern times?
RM: Yes I do. Especially in the age of streaming and downloading. People have come to expect that music should be free. But music is an integral part of our lives and many artists don’t have the resources to survive creating music because it’s difficult to make a living. I don’t think people realize how much work goes into making an album. It’s several months and sometimes years in the making. Can you even imagine a world without music? Unfortunately, we live in a disposable culture and until we change our methods and teach our children the importance of preserving the earth (art, music and culture included) we continue down this path. It’s up to us to make the change in the world that we want.
LF: The album touches on heavy topics like politics, immigration and consumerism, yet you address everything from an optimistic standpoint. Where do you source your inspiration and positivity?
RM: I wanted to tell stories that would inspire people to change and see the good out of the terrible things that are happening. For example, this anti-immigration feeling that many people have is upsetting to me. I understand that we may need a better policy, but the hatred for people fleeing from war torn countries in search of a better life is painful to see. That is what led me to write “Do You Believe” and “Simple Man.” I am tired of hearing so called “religious” people having no tolerance for refugees. The U.S. is a country founded on immigration. My great grandparents were immigrants. In “Simple Man,” I wanted to tell a story about an immigrant who is just trying to get by. It humanizes these people and hopefully can help the listeners see another side of these issues.
LF: Your voice is so beautiful and expressive. Can you share some vocal exercises that you do to stay in top form.
RM: Thank you! It depends on the day for me. When I’m singing a lot on tour or recording I like to really rest my voice when I have the time. But my normal warm ups are just humming lightly to warm the voice moving up and down the scale in 3rds and 4ths. Then I change to a vowel, E or Ahh… the open A (ahh) vowel is usually most difficult when you get to the break, especially when the voice is tired so it works well to slowly work into it. Paying attention to the movement of the tongue from the E to A… and relaxing the jaw, head and neck… Engaging the resonators in the mouth and nasal cavity. Ha ha… going back to my teaching days with this.
LF: Musically, the album is interesting and engaging. I especially loved the piano compositions. Can you share some information about the musicians who contributed to Melodic Canvas?
RM: I was really happy to work with Shedrick Mitchell on piano. He is an extraordinary musician who really grasped the concept of the music and the songs. His gospel / jazz / soul influence was the perfect mix of what I was looking for in the harmonies. Vicente Archer (bass) was perfect because he plays the acoustic bass with a soulful approach but has the jazz sensibility that some of the music needed. Daniel Sadownick did all the percussion. He really helped to keep the vibe organic as possible with only percussion. Marvin Sewell and Al Street played guitars on a few tracks. They both add something so different in their own way. Al is great with rhythm guitar parts and Marvin is super creative. The layer of guitar adds a nice lift to the album. I was really thrilled to have Chris Potter (saxophones) on two tracks. I worked with him about a year and a half ago and since then had been trying to find a way to get him into the studio with me. A last minute addition was the gospel choir and it was magical to have them in the studio. It was a great moment for me to work with all these fine musicians!
LF: When writing or arranging a song, where do you begin? Do you start with a melody, chord progressions, or somewhere else completely?
RM: It is always different but for this album I began writing the lyrics first. I had a lot of things I wanted to say and I found that as I was writing the lyrics I could almost hear the melody. Sometimes I do have a chord progression that inspires something but recently I’ve found it’s more difficult starting that way.
LF: What aspect of Melodic Canvas are you most looking forward to sharing with fans?
RM: I really like the intimacy that this music has although in the live show it’s a challenge to create a concert that has movement and takes the audience on a journey. So for the live tour I use a drum set and sometimes the music takes a different turn. It’s cool because the songs on the album are just a starting point and it’s really interesting to hear different musicians’ interpretation of them. It usually leads me to sing something a little different. And to me, that’s one of the exciting parts of live performances.
LF: Where can people see you perform live?
RM: Next week (June 29) I’ll be playing at the Rochester Jazz Festival (my home town) and I’m on tour the rest of this year in Europe. I’ll be in the U.S. on the east coast in November — Boston, D.C., NY and maybe more to come.
LF: Is there anything else you’d like to share with Eponymous Review readers?
RM: Eric Legnini did a really cool REMIX of “Do You Believe” that was released last week! You can listen here:
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Melodic Canvas drops on July 6. Preorder it here and visit McKelle’s official website for upcoming tour dates.